Seminar of Criticism 6
Name of lecturer(s)
Learning outcomes of the course unit
- Student knows basic terminology, historic paradigms and development of defining dance-performance art and is able to further work with it adequately and contextualize it.
- Student is able to perceive and professionally review specifics of dance-performative performances and the theory-methodology approach allowing its subsequent depper analysis.
- Student, according to selected relevant methodology, specifies a viewed performance and is able to select key aspects necessary for its consistent interpretation.
- Student sets the staging in to a wider context - period and individual specifics (in connection to formation of the given collection, artists, etc.).
- Student completes a critique (oral and written) in the given length in accordance with requirements of a particular genre and media.
- Student supports the critical opinion on a staging with concrete arguments.
- Students express themselves at the corresponding professional and stylistic level in both written and oral form.
- Student is generally oriented in professional field periodicals, and is able to describe their intent and requirements.
Mode of study
Instruction is primarily through moderated discussion of stagings, individual presentations and debates. An inseparable part of the course is group discussions on student writings considering standard principles of editing practice. Assignments may contribute specific topic research for a particular staging, staging reconstruction, or interview.
Prerequisites and co-requisites
No other requirements.
This course is focused on an analysis of dance-performative performances from the viewpoint of significance as well as the primarily compositional-formal significance. In introductory meetings, emphasis is placed on pivotal development definitions of dance and movement arts in the 20th and beginning of the 21st centuries which fundamentally modified experienced stereotypes of the understanding of dance, the choreographed human body and movement. Contextualization of individual developmental phases of dance and partial encounters originate in the viewing of selected dance performances of a given period/development definition and their subsequent critique-analysis. The second part of the course is based on the particular audience experience and perception of a dance performance both the current dance-performative repertoir of Czech ensembles and artists, and visits to relevant international fesitvals, subsequent discussions and completion of an independent paper on a selected performance (as a review, essay, short theory analysis study, etc.)
- Introduction to the study of dance
How to look at dance? Its perception and analytical-critical review, basic dance-research concepts and their proper interpretation
- Historical paradigms of the development of dance and theory though about it I.
Classical dance vs modern dance? Isadora Duncan and her „movement“ away from classical dance, pioneers of modern dance (Emile Jaques-DalCroze, Rudolf Laban, Oskar Schlemmer).
- Historical paradigms of the development of dance and theory though about it II.
Dance as the individual testament of the dancer (Mary Wigman, Martha Graham, Doris Humphrey), Dance solo - the most expressive reference of modern dance and its contemporary modification.
- Dance theatre and its variants (Kurt Jooss, Pina Bausch and others).
- Principles of negation and absence in dance
Dance avant garde and post-modern dance: analysis of the essence of dance (Merce Cunningham, Judson Dance Theatre).
- Contemporary dance, physical theatre, movement performance
Important performers, forms/genres/concepts, pivotal stagings (Wiliam Forsythe, Wim Vandekeybus, Lloyd Newson, Anne Teresa de Kersmaeker and others).
- Conceptual rebound in dance and performance
Xavier Le Roy, Jerome Bel, Boris Charmatz, Vera Mantero, Doris Uhlich, and others.
- The most current genres and forms of contemporary dance and performance
Lecture performance, movement installation, post-human turn + cybor, dance virtuality.
- Domestic modern and contemporary dance.
- Contemporary international fesitvals and plaforms for contemporary dance, movement performance and physical theatre.
Student are acquainted in detail with genres of printed dance critique ((Taneční zóna) and the internet version (Taneční zóna, Taneční aktuality) and requirements placed on them, and, finally, the management and changes in those fields of practice.
Recommended or required reading
Assessment methods and criteria
Minimum 80% attendance and class participation including visiting all selected stagings or independent viewing of assigned staging recordings (50%).
Partial tasks - papers, research 30%.
Constructive critical evaluation of other students' work 20%.
Schedule for winter semester 2019/2020:
The schedule has not yet been prepared
Schedule for summer semester 2019/2020:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Theory and criticism (B.A.) (required subject)